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BUILT SHAPES (Pottery, for artists)
CHAPTER III BUILT SHAPES "Every moment think steadily : to do what thou hast in hand with perfect and simple dignity." M. ANTONINUS. WITH good plastic clay and with the aid of a few simple tools, the fingers can fashion shapes of con- siderable diversity and some refinement. In ele- mentary schools this is by far the best method of teaching the beginner. In any case the student who has no knowledge of clay work would do well to start by building a few shapes in the manner still used by primitive peoples. The clay, which must be in good condition and not short, is rolled out on a wet plaster slab or some non- sticky surface, into ropes of something less than half an inch in diameter for small shapes. (Fig. 1.) The best way to commence is to knead up a double handful of soft clay until thoroughly mixed, ball it, and. then form a stumpy cylinder, gradually elongating by rolling out on the bat. Too much pressure will flatten the rope and there should be a distinct pull 26 ROLLING OUT CLAY FIG. 1 or stretch on it in addition to the downward pressure, varying as necessary to insure even thickness. As the rope becomes thinner the fingers should be held diagonally to avoid ridges. This rope should be fairly firm and yet bend easily without cracking. With a little practice, long pliable rolls can be easily and rapidly produced and then a start is made with the base. This is coiled as in Fig. 2, pressed flat, and welded together. It is finished both sides before commencing the walls of the shape. These are coiled round and up, each ring being pressed firmly on the one below, care being taken to avoid air cavities which may blow out on firing. The top is levelled off and the sides welded together and smoothed with the fingers. (Fig. 3.) At first, simple and almost straight-sided shapes FORMING COIL FOOA/E FIG. 2 should be attempted ; each ring may be added sepa- rately, while the finishing should not be unduly pro- longed. As the technique improves, curves with slight returns may be attained. Where the size is so great as to prevent finishing at one sitting, it can be very carefully reversed; this will allow the base to harden and still keep the top moist for further WELDING /MOOTHINC THE /JDEy. FIG. 3 coiling. With big pieces much attention must be paid to the correct shaping when coiling, otherwise the finishing will be laborious and quite possibly useless. Large shapes with difficult curves are best built in two sections or parts and then carefully welded together. To keep the parts damp during prolonged operations, use water blown from a spray diffuser. 30 Ash trays, bulb bowls, flower pots, salt cellars, and ink wells are a few of the things that are suitable to be made by this method. They may be decorated with incised lines, raised-ornament handles, and feet. Additional interest is obtained by slight banding, or the incised lines filled in with a coloured clay pressed firmly in when the shape is tough. Although built forms may be quite highly finished, it is obvious that any elaborate decoration is out of place on shapes that by their origin must be simple and somewhat heavy. Enough has been said to indicate the process. For its logical development and suitable enrichment we must study the work of primitive peoples. For its possibilities we must turn to the vast jars made even to this day in Spain. With great care and much taste pieces can be pinched and welded together into delightful forms, best shown in the refinements of the Cha Noya pottery of Japan. This pinching must be done carefully and above all sympathetically. To those that know or feel the possibilities of the clay it will respond readily. Much more taste and judgement is required in the making of a really satisfactory pinched shape, than is needed in forming one with coils. Square, polyhedral, or irregular shapes other than circular may be stuck up or pieced together in the following manner : Upon a table nail two strips of wood one quarter of an inch thick, ten or twelve 31 ATTACHING FIG. 4 inches apart. Sprinkle between the strips with flint or fine sand and batter out some soft clay thereon. Scrape the surplus clay off with a straight-edge and then roll the clay between the strips flat with a roll- ing pin. Upon this thin slab mark out the sides, base, top, etc., of the shape to be built. Run a thin knife round each shape, but do not cut quite down to the table. Cut along the inside edge of each strip to allow the whole slab to contract evenly and allow it to toughen slightly. Carefully remove and reverse the slab and separate the pieces, being careful not to distort the shapes in the process. u 'STICKING q? ? FIG. 5 The shape must be stuck up before the pieces become brittle or too stiff to bend. Roughen each opposing edge and moisten with slip, that is, clay mixed with water to the consistency of thick cream. Press the edges firmly together and weld well each joint with soft clay. (Fig. 5.) This operation should be most thorough, as any weak joint will inevitably open when fired. Lids should be cut slightly larger 33 than the shapes they have to fit and sandpapered true when dry. Sharp edges and angles should be smoothed with the fingers before the shape gets hard. The chief pitfall to avoid in this process is a hard wooden look. The ductile plastic qualities of the clay should be remembered and such additions as feet or handles should emphasize this important point. Finally, the careful sympathetic craftsman, with infinite patience, by utilizing all three methods, can build vessels of almost any shape, square, round, elliptical, banded, strapped, bossed, fluted, and embellished with handles, spouts, and feet. Ancient and mediaeval pottery is rich in such forms. aXTTINGEDCE (s WILE TOOLS FOR CLAY WOEJC Categoría:Pottery, for artists, craftsmen & teachers